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Programme details may change in future academic years, please consult the “Gold copy” for
the given year. Any programme, module and assessment criteria amendments will be
approved following consultation of the student body through the School’s academic
governance committee framework and in-line with the requirements of the School’s
Academic Regulatory Framework.
Page 2 of 129 Guildhall Artist Masters Gold Copy 2018/19
Contents
4. Elective modules
4a. Advanced Techniques in composition A & B 58
4b. Body Matters 61
4c. Chamber Music 63
4d. Collaborative Practice: Cross-Arts Context 65
4e. Collaborative Practice: Education Contexts 68
4f. Composition for Media 72
4g. Conducting 74
4h. Contextual Studies – The Forbidden Saxophone 76
4i. Electro-Acoustic Music 78
4j. Historical Performance: Performance 81
4k. Historical performance: Principles and Research 83
4l. Interpretation through Improvisation 86
4m. Jazz Composition & Arranging (Jazz Students) 89
4n. Jazz improvisation (Jazz Students) 91
4o. Music, Philosophy and the Arts 93
4p. Opera and Theatre A & B (singers) 95
4q. PianoWorks A & B (pianists) 97
4r. Research Project 99
The Programme supports students’ future career development / further study by:
• Designing the curriculum & training to match professional needs.
• Giving students opportunities of contacts with the outside professional world via (i) teachers drawn from the
professions; (ii) final recitals/portfolios assessed by leading artists (internal professors and external assessors);
Selection to the programme is based on a Principal Study audition for the Performance Pathway (according to
both Principal Study and professional specialism; for the Orchestral Artistry specialism members of the LSO may
be present at audition) or evaluation of compositions and colloquium for the Composition Pathway. This
audition may consist of more than one round (e.g. for Opera Studies) and will also include a brief interview.
In some circumstances (e.g. overseas applicants who are unable to attend the international auditions when
offered), this process may be carried out by submission of a video recording of a live performance, submission of
compositions, portfolio of activities and other relevant material, and a telephone or video call (e.g. Skype)
interview arranged by the School.
The minimum academic qualification for entry is an Undergraduate degree with Honours in Music, or an
international equivalent. Undergraduate degrees with Honours in any other subject may be considered if
accompanied by evidence of adequate musical activities and achievements.
• IELTS (International English Language Testing Service) - a minimum overall score of 5.5 with no component
falling below 5.5 (reading, writing, speaking and listening)
In appropriate circumstances (e.g. a student that has a strong command of the language but no official certificate,
or that has taken other language assessment-types, e.g. TOEFL), normally identified at the audition/colloquium
stage, this requirement may be replaced by an internal assessment of English in reading, writing, listening and
speaking.
The School reserves the right to require non-English-speaking students to attend an internal non-credited class
in the English language once the Academic Year has started.
Non-standard applicants
i) Students that do not meet the standard academic qualifications are required to satisfy the School that by
th
15 July before the beginning of term (or other specified earlier date) they are able, in terms of general
musical knowledge and general academic abilities, to undertake a Masters Programme of study in music
performance or composition. Evidence, set out by the School and provided by the student, might consist
of, but not limited to:
• Submission of academic written work
• Submission of evidence of artistic and professional musical experience
ii) Students that do not meet the entry criteria in relation to level of Principal Study, but show significant
potential are required to enrol on the Extended Guildhall Artist Master’s Programme, the first year of
which is called the Graduate Certificate Year and is aimed at a focused and intense development in
Principal Study.
Advanced-standing applicants
Application for advanced standing in the Programme (direct entry to Part2) is permitted only for students
transferring from an equivalent institution and programme nationally or internationally. Advanced standing
through the accreditation of other types of prior learning is not accepted. Advanced Standing for both the
Orchestral Artistry and Opera Studies specialisms is not available.
The Extended Guildhall Artist Programme has three Parts. Parts 1 and 2 are as above, and are preceded by the
Graduate Certificate year (which can only be taken on a full-time basis). Students who are enrolled on the
Extended Guildhall Artist Programme will need to pass successfully the Graduate Certificate year, achieving a
merit level in the Principal Study end-of-year aggregate mark, to continue to Part One.
In the Performance Pathway, progression to Part 1, does not grant automatic admission to the Orchestral
Artistry PS module. For this specialism, the Graduate Certificate Year Final Recital may also be used as the
audition process, or a separate audition may be arranged prior to the commencement of the course. Students
otherwise continue onto the Principal Study in Performance (Part 1).
* The Opera specialism within the Performance pathway is full-time only and Part 1 takes 2 academic years. Students
who have completed Part 1 Opera and want to continue to Part 2 will need to do so in the Vocal Studies department.
General Approach
The teaching and learning strategies are designed to deliver the programme’s aims through attainment of the
programme’s learning outcomes. Students are engaged in a combination of curriculum-based learning provision,
and experiential learning opportunities.
The teaching of the Principal Study in Part 1 is based on a core of individual one-to-one lessons that are,
according to the nature and need of different PS and pathways, supported by PS-led classes and activities. The PS
modules are a microcosm of teaching and learning aimed at the specific artistic and professional development of
individual students. In Part 2 the intense work in one-to-one lessons and in PS classes continues, according to
specialisms, whilst at the same time students are required to engage effectively with the artistic world outside the
School.
Experiences in real professional contexts is seen as an integral part of the students’ development, and students are
required to seek independent opportunities of presenting publicly their Principal Study work. In both Parts, PS
learning is regularly monitored through individual meetings with departmental tutors.
PS work is supported by core modules (Reflective Practice in Part 1, and Critique of Personal Development in
Part 2) aimed at each student’s ability to evaluate their own learning as well as artistic and professional
development, in preparation for further continuous independent learning once the degree is completed. This
work is supported by a number of core lectures on physical and psychological aspects of high intensity music
making, on understanding and interacting with the profession, on refining research skills that enhance artistic
and professional profile. This work is supported by an individual mentor through a mix of group and individual
sessions.
Experiential learning includes all Principal Study related activities (e.g. solo, ensemble and orchestral
performances, workshops and master classes, open sessions for composers) and academic/research events (e.g.
attendance at ResearchWorks) or cross-school projects which the School offers to the students on a regular basis,
in-house and in partnership with outside venues and organisations, both in the UK and abroad. Some
musicianship classes that are not part of the credited curriculum (Ear Training and Musical Materials) can be also
taken to supplement and develop knowledge and skills.
English language classes are also offered to students, mostly non-native English speakers, who want and need to
develop and refine their use of their spoken as well as their written language.
Students are also encouraged to undertake short-term study exchanges with international institutions recognised
through bilateral agreements with the School, particularly within the EU Erasmus exchange scheme.
The evaluation of assessment tasks is regulated by a set of assessment criteria which are linked, on the one hand,
to the learning outcomes and, on the other, to specific types of learning ‘product’ (e.g. learning demonstrated
through performance, through artistic/creative output, through research, through reflection on experiences).
The main focus of assessment is formative (for guiding progress) throughout, where feedback is a key feature
across all methods and modules. The number of summative assessments (for evaluating learning) is kept each
year to the minimum necessary depending on the different learning and progression needs of the different
modules. Diagnostic assessments (for calibrating future learning) are carried out specifically in relation to the
allocation of students to electives (e.g. Conducting), or to experiential activities (e.g. orchestral seating).
Most assessments lead to a discrete mark, but there are also pass/fail assessments. Feedback is always included and,
to encourage learning through the understanding and critical evaluation of feedback, marks can be withheld and
given upon request only after a certain amount of time has elapsed. In these cases, an indication of pass/fail is
given at the same time as the feedback.
In addition to the information contained in the module specifications and in the handbooks, the induction of
students on assessment happens within the various curriculum areas. Modes and practices of assessment are
discussed and explained in PS-based meetings for PS modules, or within each of the other modules.
Feedback to students
Informal verbal and written feedback (e.g. in performance platforms) is given to students in all teaching and
learning situations, both curriculum-based and experiential-based. Formal feedback in assessment reports is
given to students immediately after a performance exam. For written assignments, the results are communicated
within six term weeks of the assignment deadline.
The aggregate mark for a module is the aggregate of the marks for each component listed in the Module
Specification, weighted according to the specified percentage, and assessed according to the stated FHEQ level (7
or 6) and associated criteria. If a student has been assessed in more than the standard number of module
components, those with the highest results are used for calculation. Any module component assessed with
Pass/Fail is not considered for the numerical module aggregate. Compensation of marks happens when the
aggregate mark includes a marginal fail, but the overall numerical result is a pass.
These compensation rules do not apply at module sub-component level in any module, where fails below 40% (7)
or 30% (6) can be compensated, apart from a fail for academic misconduct (e.g. plagiarism, collusion).
A student who successfully completes a re-sit is awarded the minimum pass mark for the failed component. This
minimum re-sit pass mark is aggregated to the mark(s) of the passed component(s) according to the specified
percentage for a full, and not capped, final module mark. The only exception to this might occur for an academic
misconduct failure (e.g. plagiarism, collusion), see the Academic Regulatory Framework for details (3.12).
Any failed module component assessed with Pass/Fail is treated following the above rules in terms of re-sit
provision.
If, having made a valid attempt at re-sit, a student fails up to 10 credits, compensation provisions may be applied
by the School Board of Examiners if the required Learning Outcomes have nonetheless been achieved on the basis
of the results of the re-sit and of other modules/module components that share the same LOs. Where
compensation is applied to any module included in the calculation for an award (see 16.3 below), the maximum
classification awarded will be a Pass.
Progression
To progress from the Graduate Certificate Year to Part 1, a student needs to have passed all modules of the GC and
to have gained 60% minimum in the aggregate mark of the PS module.
To progress from Part 1 to Part 2, a student needs to have passed all modules of Part 1, have gained 60%
minimum in the aggregate mark of the PS module, and have successfully submitted a plan for professional and
artistic development for Part 2.
Interim awards
Graduate Certificate
A student who, at the end of the Graduate Certificate Year, successfully passes the following modules for a total
of 110 credits:
• GC Principal Study (90 credits)
• Reflective Practice (GC) (20 credits)
and ceases his/her studies, is considered for the award of Graduate Certificate [Grad Cert] in Music. The result
is the overall aggregate of the module marks weighted according to their credit value. The classification shall be
determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 40%
PGDip
A student who, at the end of Part 1, successfully passes the following modules for a total of 140 credits:
• Principal Study (120 credits)
• Reflective Practice (20 credits)
and ceases his/her studies, is considered for the award of Postgraduate Diploma [PGDip] in Music. The result
is the overall aggregate of the module marks weighted according to their credit value. The classification shall be
determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 50%
MMus
A student who, at the end of Part 1,
i) completes and passes the following modules for a total of 180 credits:
• Principal Study (120 credits)
• Reflective Practice (20 credits)
• Electives (40 credits in total), and
ii) for the Opera specialism only, has passed the additional 60 credits of the Performance Practice module
credits,
and
iii) ceases their studies,
is considered for the award of Master of Music [MMus]. The result is the overall aggregate of the module marks
weighted according to their credit value (excluding the Performance Practice credits). The classification shall be
determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 50%
MPerf, MComp
A student who, at the end of Part 2, completes and passes the following modules for a total of 180 credits:
• Performance Portfolio (150 credits)
• Critique of Personal Development (30 credits)
and has achieved all 180 credits of Part 1, will be considered for one of the following awards:
Master of Performance [MPerf (Guildhall Artist)] or
Master of Composition [MComp (Guildhall Artist)]
The result is the overall aggregate of the module marks weighted according to their credit value. The
classification shall be determined as follows:
With Distinction minimum 70%
With Merit minimum 60%
Pass minimum 50%
Concert Recital Diploma (CRD) and starred award for exceptional performance in a specified assessment
Final year Performance students [MMus, or MPerf] achieving 80% or more in their Performance B (for MMus)
or Performance A (for MPerf) will be eligible for the Concert Recital Diploma. Final year Repetiteur students
{MMus or MPerf] will receive a starred award for achievement of 80% or more in Performance B (for MMus) or
Performance A (for MPerf). Final year Composition students [BMus (Hons), MMus or MComp] will receive a
starred award for achievement of 80% or more in their composition portfolio.
A student can only get one Concert Recital Diploma / starred award for the Guildhall Artist Masters
programme; if a student achieves a CRD in Part 1 they will not be eligible in Part 2. No CRDs for other exit
qualifications.
MPerf & MComp Min. period: 2 years FT* Max. 4 years (5 years extended prog)
MMus Min. period: 1 year FT* Max. 3 years (4 years extended prog)
PGDip Min. period: 1 year FT* Max. 2 years (3 years extended prog)
Graduate Certificate Min. period: 1 year FT Max. 2 years
The maximum period of study will include any repeat year and/or periods of deferral or interruption.
* The minimum period may be reduced where a student has transferred from a relevant programme offered by another
higher education institution, see Academic Regulatory Framework (2; 3.2.1).
Where applicable, a student may apply to change from full-time to part-time status at any point up until the 25
November in the autumn term. Transfer after this date, and up to the end of the second term, will only be
permitted for exceptional professional/academic reasons supported by written statements from the Head of
Principal Study Department, obtained by the students themselves.
The Graduate Certificate year and Part 2 are available only on a one-year full-time basis
The only exception to this is two of the three PS assessment projects in Part 2, which are devised and scheduled by
students themselves according to a specific process supervised by the School (see 16.14)
3. Credit Value 90
4. SITS module code PER4003N
5. Location of Delivery Guildhall School
6. Applicable in the year of
Grad Cert Year only
study
7. Module Leader Heads of PS Department
8. Department Relevant PS Departments
Informal formative feedback is provided verbally by the principal study professor, and also on
platform performances by other departmental professorial staff.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills Mid-Year solo exam (length
KPE 20 40
assessment varies according to PS)
Practical skills End-of-Year solo exam
KPE 60 40
assessment (length varies according to PS)
Individual set performance
Set exercise KPE 10 40
exercises or other
Individual set performance
Set exercise KPE 10 40
exercises or other
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills Mid-Year Assessment (length
KPE 30 50
assessment varies according to PS)
Practical skills End of Year Assessment
KPE 70 50
assessment (length varies according to PS)
It includes the following professional specialisms: Advanced Instrumental Studies, Vocal Studies,
Opera Studies (including Repetiteur), Chamber Music, Piano Accompaniment, Jazz and Historical
Performance Practice. It is run by the relevant principal study department.
This module aims to:
• Develop the students to their highest individual level of technical abilities, interpretative insight
and artistic vision.
• Develop in students a comprehensive understanding of, and demonstrable capacity for, the
preparation and performance of material relevant to their specialisms and to professional
performance contexts.
• Assist students to be innovative and intensely self-challenging within their field of expertise.
• Support students in developing self-direction in tackling and solving performance related
challenges.
• Support students in planning and implementing projects, either through independent action or
as an autonomous member of an appropriate project team or ensemble.
While Performance A is comparable to a final recital or an operatic role for opera students, the scope
of projects B and C ranges considerably to include artistic and professional situations relevant to each
specialism, for instance concerto performances, chamber music or leading role in orchestra (first
parts; not applicable to WBP)., opera scenes. These are clearly defined in the PS relevant handbooks.
By the end of the Autumn Term, students submit a proposal for the three performance projects for
assessment. The proposal must be supported by a short statement (approximately 500 words) to
describe and justify the artistic and professional nature of these performances in relation to the
students’ own development and aims. No repertoire can be repeated as part of the assessment
package, including pieces assessed in the Graduate Certificate year or in the Masters Part 1. The
proposal is evaluated and approved by the Head of Department and the Head of Music Programmes
in consultation.
• Performance A is assessed by a panel set up by the School.
• Performances B and C are assessed by one (or more) internal or external assessor(s) proposed by
the student and approved by the School. The student must also arrange the recording (audio or
preferably video) for moderation/double marking purposes.
The appointment of an assessor for performances B and C is as follows. The student approaches
informally the assessor(s) and submits to the School his/her CV that needs to demonstrate
considerable professional/pedagogical experience at international level. The School approves/rejects
the proposal (this is normally done by the Head of Department and Head of Music Programmes in
consultation). The approved assessor is then contacted by the School (normally the Music Office) for
confirmation of appointment, for supplying the assessment requirements, reports and criteria, for
receiving back the report and for paying the assessment fee.
Informal formative feedback is provided verbally by the principal study professor, and also on
platform performances by other departmental professorial staff.
2. FHEQ level 7
Part 1 120
3. Credit Value
Part 2 150
Part 1 ORC4005
4. SITS module code
Part 2 ORC4006
5. Location of Delivery Guildhall School
6. Applicable in the year of study Years 1 and 2
7. Module Leader Director of Music
8. Department Strings and WBP
• Provide the technical skills to deliver high levels of performance as an orchestral and ensemble
player.
• Promote a deep understanding through practical experience of the professional landscape that
students are about to enter and an appropriate level of knowledge and skill to excel within it.
• Develop a clear understanding of how to communicate through music at emotional, intellectual,
verbal, and virtual levels, to both specialist and non-specialist audiences and to articulate musical
processes and experiences in a manner which demonstrates self-awareness and research capacity.
• Encourage a strong personal and ethical code of conduct.
• Establish a process of continuing refinement of personal and artistic development, integrating a
high level of physical fitness and mental preparedness underpinned by knowledge of the
psychological and physiological aspects of the profession.
OA students have opportunities to take part in chamber orchestra repertoire sessions, side-by-side
with LSO players, as well as Guildhall instrumental ensembles, and Guildhall Symphony Orchestra
and Opera projects, alongside students from other Guildhall courses.
The content is divided into three main areas of learning; the first two are assessed in Parts 1 and 2,
the third is assessed in projects B and C of Part 2:
1. Principal Study – one to one tuition by Guildhall professors and those LSO players on the
Guildhall staff, masterclasses from LSO players and LSO international soloists. Over the
course of two years every student receives a minimum of one audition per year with a panel
of LSO players, which may be filmed, with immediate verbal feedback.
2. Chamber & Orchestral ensemble training – classes and sectionals delivered by both
LSO players and Guildhall professors. It includes:
Repertoire training, covering a selection from the core symphonic and large chamber
repertoire.
Sight reading training.
Ensemble training – orchestral technique and professional orchestra code of conduct.
3. Leadership, Entrepreneurial and Communication Skills - artistic as well as
pedagogical and educational leadership skills, within the context of Creative Learning and
LSO/LSO Discovery projects. This includes:
Leadership training for curating, planning, promoting and delivering concert and
education work.
Principal training, including group conducting lessons.
Education and outreach delivery, in contexts including Junior Guildhall and the Centre
for Young Musicians. Two forms of training are offered: Instrumental coaching and
Workshop leadership. Within both forms, students shadow/observe and participate
alongside LSO players (and others) in Part 1, and then deepen their experience of hands-
on leadership/ teaching in Part 2.
Students are also given the opportunity, where appropriate, to play in LSO schools and family
concerts, and in conducting masterclass series, and to sit onstage in LSO rehearsals. LSO players also
b) Assessment
Assessment Type Detail KIS code % Weighting % Pass Mark
Part 1
Assessment A: Orchestral
Practical skills
audition (WBP 25 mins; Strings KPE 30 50
assessment
30 mins)
Assessment B: Orchestral
Practical skills
audition (WBP 30 mins; Strings KPE 70 50
assessment
40 mins)
3. Credit Value 90
4. SITS module code COM4033
5. Location of Delivery Guildhall School of Music & Drama
6. Applicable in the year of study Grad Cert Year only
7. Module Leader Associate Head of Composition (PG)
8. Department Composition
Informal formative feedback is provided by the principal study professor and with feedback in
workshops.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Mid-Year Original
Portfolio KCW 20* 40
Composition folio
Portfolio Mid-Year Supporting Studies
KCW 20 40
folio
Portfolio End-of-Year Original
KCW 40* 40
Composition folio
Portfolio End-of-Year Supporting
KCW 20 40
Studies folio
*weighting subdivided Compositions 95% and Commentaries 5%
The assessment method consists of a folio of five contrasting works created during the year, at least
three of which have been composed in response to school-based commissions, the folio to include
written commentaries (100 word per minute of music), and a viva voce with a panel that includes
the External Examiner and an internal member of staff, to be held towards the end of the period of
registration.
Informal formative assessment is provided by the principal study professor through oral feedback
and feedback from workshops.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Composition Folio (five
Portfolio KCW 90 50
contrasting pieces)
Written Commentaries (100
Portfolio KCW 5 50
words per minute)
Oral assessment End-of-Year Viva KPE 5 50
The assessment of the module consists of three principal components, that combine the following
requirements:
• One item should be generated by an internal Guildhall School performance opportunity.
• One item should be an external opportunity generated by the student, in consultation with
departmental staff, which may draw on one the School’s external partners.
• One item should be in some sense collaborative and may involve collaboration with an artist or
The student is free to negotiate the precise configuration of their items for assessment using these
parameters, but the total duration of material submitted should not be less than 30 minutes. Each
item will be equally weighted (30%) within the folio.
By the end of the Autumn Term, students submit a proposal for the creative platform event. The
proposal must be supported by a short statement (approximately 1000 words) to describe and justify
the artistic and professional nature of this event in relation to the students’ own development and
aims. The proposal is evaluated and approved by the Composition Department.
Submissions must be accompanied by written commentaries (100 word per minute of music) for
each piece, a CD recording, or a DVD recording for projects involving a visual, theatrical or
choreographic element, and are assessed by a panel appointed by the School according to the
standard procedures. The item performed within the creative platform event is assessed live by an
examiner and internally moderated by a senior member of the Music Department and the External
Examiner by DVD recording.
Informal formative feedback is provided by the principal study professor with oral feedback and
feedback from workshops.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Set exercise Portfolio item 1 KCW 30 50
Set exercise Portfolio item 2 KCW 30 50
Set exercise Portfolio item 3 KCW 30 50
Written assignment Written commentaries KCW 5 50
Oral assessment Viva Voce KPE 5 50
At the start of the year, students attend two whole-cohort lectures, to introduce them to the key
concepts of reflective practice and professional practice and well-being.
Shortly after these lectures, students gather in discussion groups to develop their first self-reflective
account, an essay that identifies objectives and suggests strategies for the coming year. Groups are
allocated by pathway and principal study and are often led by principal study professors.
Towards the end of the autumn term, students attend a whole-cohort lecture on Performing
In the final week of the autumn term, students attend a second discussion group meeting to receive
additional formative feedback on their self-reflective account and to engage in peer discussion and
support of their strategies.
The spring term consists of workshops introducing the musician as producer. Students create a project
pitch as part of these workshops and may be invited for further mentoring to develop particularly
innovative projects. Mentoring groups provide formative assessment on the students’ engagement
with the whole-cohort activities of the first and second terms. Students are also invited to attend
BMus 4 Professional Practice seminars that develop the administrative skills required by a freelance
musician.
Students who are deemed by their tutor to be not sufficiently engaged with the process, whether
through attendance and/or participation in the discussion group, will be required to attend a viva
voce with senior members of the Academic Studies and/or complete equivalent written work.
The summer term offers support as required by each group as they prepare for their summative self-
reflective account. The summative account develops ideas formulated in the autumn assessment
through an evaluation of musical and personal progress and artistic exploration, supported by
relevant secondary research.
b) Assessment
At the start of the year, students attend two whole-cohort lectures, to introduce them to the key
concepts of reflective practice and professional practice and well-being.
Shortly after these lectures, students gather in discussion groups to develop their first self-reflective
account, an essay that identifies objectives and suggests strategies for the coming year. Groups are
allocated by pathway and principal study and are often led by principal study professors.
In the final week of the autumn term, students attend a second discussion group meeting to receive
additional formative feedback on their self-reflective account and to engage in peer discussion and
support of their strategies.
The spring term consists of workshops introducing the musician as producer. Students create a
project pitch as part of these workshops and may be invited for further support to develop
particularly innovative projects. Discussion groups provide formative assessment on the students’
engagement with the whole-cohort activities of the first and second terms. Students are also invited
to attend BMus 4 Professional Practice seminars that develop the administrative skills required by a
freelance musician.
Students who are deemed by their mentor to be not sufficiently engaged with the process, whether
through attendance and/or participation in the discussion group, will be required to attend a viva
voce with senior members of the Academic Studies and/or complete equivalent written work.
The summer term offers support as required by each group as they prepare for their summative self-
reflective account. The summative account develops ideas formulated in the autumn assessment
through an evaluation of musical and personal progress and artistic exploration, supported by
relevant secondary research.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Students attend two lectures at the beginning of the year, the first suggesting methods for a deeper
reflective practice than in Part 1 and the second refreshing ideas concerning the musician as
producer, offering support as students begin to plan their Part 2 portfolio.
Throughout the first two terms, students are required to attend at least three ResearchWorks
seminars, organised by the School’s research department, according to their own interests and
availability. Students’ responses to these seminars, and two other whole-cohort lectures in the Spring
term reflecting on different approaches to music, form the basis of the students’ first peer-
presentations during the Spring term. Delivered to small, ad-hoc groups according availability, and
led by a senior member of the Academic Studies team, these sessions offer students the opportunity
to share and discuss new musical ideas and receive formative feedback.
Assessment
The assessment consists of one written submission comprising 100% of module grade: Critique of
Personal Development (4500-5500 words). Approaches will vary and guidance from tutors and peer-
presentations will be valuable in determining the most appropriate way of structuring this
submission.
Students also receive a pass/fail grading for engagement with the peer-presentations. Students who
fail to attend these presentations or have shown insufficient engagement with the module may be
required to attend a viva voce with senior members of the Academic Studies team or submit a
comparable piece of written work.
b) Assessment
There are five pathways, and both A and B modules can be taken following different pathways for a
total of 20 credits. Prerequisites might apply to individual pathways; see below for details.
1) Stylistic Composition: students will study styles and genres such as eighteenth-century string
quartets and nineteenth-century piano works, through analysis and pastiche composition.
Students present sample of previous relevant work to demonstrate required familiarity with
relevant knowledge and skills.
2) Counterpoint: students will study species counterpoint in two and three parts. The practical
study of counterpoint is complemented by the study of its historical and stylistic contexts, with
background reading and listening, score reading and analysis.
3) Introduction to Fugue: students will learn to write two and three-part fugues in a tonal idiom
broadly ranging from the eighteenth to the nineteenth centuries. The pedagogical approach is
based on relevant repertoire supported by treatises of Cherubini, Dubois and Gedalge,
complemented by other eighteenth-century sources (Fux, Martini) and current literature
(Walker). Students present sample of previous relevant work to demonstrate required
familiarity with relevant knowledge and skills.
For all pathways, assessment is comprised of a portfolio of compositional and/or analytical exercises
(100%).
b) Assessment (A and B)
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Compositional and/or
Portfolio KCW 100% 50
analytical exercises
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Written assignment Essay (1800-2200 words) KCW 60 50
Written assignment Written reflection (700-1000 KCW
or words) or 40 50
Oral assessment Presentation (7-10 mins) KPE
20 credits
Written assignment Essay (3600-4400 words) KCW 70 50
Written assignment Written reflection (1000-1200 KCW
or words) or 30 50
Oral assessment Presentation (10-12 mins) KPE
The module may be repeated in a subsequent year of the students’ programme (module B), in which
case different repertoire is of course prepared.
WIND/BRASS AND PERCUSSION: the module is assessed in a final 20-minute performance (10-
credit elective), or two 20-minute performances (20-credit elective) or a 40-minute performance
(20-credit elective). The duration of the performances is from the moment the performers enter the
stage, to the last note played.
Repertoire can be either a whole work, or contrasting movements selected from different works, or
smaller complete works, or a combination of any of those.
The group must present a short printed programme to the assessors listing the repertoire, and the
movements to be played, but programme notes are not required. The group must also provide the
assessors with a copy of each score (or a copy of all the parts if there is no published score).
In addition to the practical assessments, there are additional non-assessed minimum requirements
(coaching/platforms/masterclass etc) which will be communicated at the start of the year.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Practical skills assessment Performance 20 mins KPE 100 50
20 credits
Practical skills assessment Performance 40 mins KPE 100 50
Principal study teachers and chamber music coaches advise the repertoire. Scores and recordings for
most standard repertoire works and many lesser-known works are located in the Guildhall School
Library. Students are encouraged to use Urtext scores whenever possible.
The Elective tutors support the student’s reflections on the context of the work, the methodological
approach, and the development of their personal practice. The project leader supports the student on
the practical work and project evaluation.
Additional content comes through cross-departmental activities co-ordinated by the Creative
Learning Division.
The intensive nature of these collaborations means that students, during the projects, need temporary
exemption from other aspects of the programme. Projects take place at moments in the year in which
it is possible to accommodate these exemptions, including vacation periods. Some projects involve
international placement; students choosing these options may need to pay for travel.
Component C: A tutor report on the student’s participation and development in the project (40% of
component). Submission of 2000-2200-word self-reflection (60% of component). The essay should
include in-depth analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.
b) Assessment –
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Component A:
Project output Participation and 900-1000 KCW 100 50
word self-reflection
20 credits
Participation and 900-1000
Project output KCW 50 50
word self-reflection
Component B:
Project output Participation and 1000-1200 KCW 50 50
word self-reflection
Component C:
Project output Participation and 2000-2200 KCW 100 50
word self-reflection
The Elective tutors support the student’s reflections on the context of the work, the methodological
approach, and the development of their personal practice. The project leader supports the student on
the practical work and project evaluation.
Additional content comes through cross-departmental activities co-ordinated by the Creative
Learning Division.
The intensive nature of these collaborations means that students, during the projects, need temporary
exemption from other aspects of the programme. Projects take place at moments in the year in which
it is possible to accommodate these exemptions, including vacation periods. Some projects involve
international placement; students choosing these options may need to pay for travel.
Component A: A tutor report on the student’s participation and development in their first project
(50% of component). Submission of 900-1000-word self-reflection (50% of component). The essay
should include analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.
Component B: A tutor report on the student’s participation and development in the second project
(40% of component). Submission of 1000-1200-word self-reflection (60% of component). The essay
should include analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.
Component C: A tutor report on the student’s participation and development in the project (40% of
component). Submission of 2000-2200-word self-reflection (60% of component). The essay should
include in-depth analysis and self-reflection demonstrating the student’s awareness of the wider
context of the work, their own learning and development and their evaluation of the project
undertaken.
b) Assessment –
Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Component A:
Project output Participation and 900-1000 KCW 100 50
word self-reflection
20 credits
Component A:
Project output Participation and 900-1000 KCW 50 50
word self-reflection
Component B:
Project output Participation and 1000-1200 KCW 50 50
word self-reflection
The module is assessed through completion of a portfolio of technical assignments (40%) and a final
project (60%).
b) Assessment
Assessment Type Detail KIS code % Weighting % Pass Mark
Portfolio Technical assignments KCW 40% 50
Project output Final project KCW 60% 50
The content includes conducting technique, score preparation and interpretation; a knowledge of
instruments and style with consideration of historical context; organisational, management and
communication skills.
The assessment consists of one twenty-minute performance platform at the end of the module. This
might be split into two sections: one with an ensemble, the other with piano.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Assessment:
The module is assessed by means of a 4750-5250 word essay.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Written assignment Essay (4750-5250 words) KCW 100 50
There are two pathways: 1) Electronic Studio Techniques and 2) Electro-Acoustic Music and Sonic Art.
The former develops students’ general competencies in the studio. The latter has more emphasis on
applying these skills to an artistic project. For both pathways, students need to demonstrate they have
the right level of knowledge and skills through submission of a portfolio of work at the beginning
of the academic year and discussion with the elective tutor.
In addition, students taking Electronic Studio Techniques will cover the physics of sound, acoustics,
synthesis, sampling, computer-based recording.
Students taking Electro-Acoustic Music and Sonic Art will additionally cover the history and aesthetics
of electro-acoustic music and sonic arts, such as musique concrète, soundscape and sound art.
An evaluation report of techniques and ideas that the student has employed in their project (600-800
words) is also required (pass/fail).
b) Assessment (A and B)
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Project output Production Project KCW 100 50
Project evaluation
Written assignment KCW n/a pass/fail
(600-800 words)
Acoustic and MIDI Orchestration for the Pejrol, A & DeRosa Focal Press 2007
Contemporary Composer R
Advanced Midi Users Guide Penfold, R PC Publishing 1996
In Search of a Concrete Music Schaeffer, P trans. University of 2013
Dack, J & North C California Press
CD: OHM: The Early Gurus of Electronic Music Various Elipsis Arts 2000
The elective is also open to vocal students who follow a slightly different curriculum.
Lessons emphasise the innate qualities of historical instruments, how they interact with our
musicianship, and what they can bring to our performance on both historical and modern
instruments.
Ensemble work (20 credits only; ensembles available without assessment for 10 credits) introduces
the importance to an understanding of text to all performers, and the different relationships
between the instruments of historical ensembles.
The School has a number of historical instruments available for loan; however, a School instrument
cannot be guaranteed.
Vocal students should initially discuss their participation in the elective with the Heads of Vocal
Studies and Historical Performance.
Assessment
10 and 20 credits
A 40-minute recital.
10 credits – vocal
The student is assessed on their participation and performance in a Historical Performance
Department project or projects. On completion of the project, the student presents a brief piece of
reflective writing (500 words) that forms the basis of a viva voce (20 minutes) about the project.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
HP department
Project output KCW 100 50
performance project
20 credits
HPPR is taught through a series of 1.5-hour classes. Although these classes are frequently based
around source material, they may at times include practical work and students who are either HP
Principal Study or are also taking the Historical Performance: Performance (HPP) elective are
expected to integrate this material into their practice.
The module is supported by a Historical Performance Reader, selected by senior members of the
department, which offers access to a range of source and interpretative materials to all students
participating in performance and academic activities offered by the HP department.
The 10-credit module runs in the Autumn and Spring terms; the 20-credit module runs throughout
all three terms, expanding class study into a personal research project, supervised through individual
tutorials.
10 credits
A 15-20-minute illustrated lecture is delivered to the class at the end of the Spring Term. This should
demonstrate the integration of some of the themes of the course with the student’s Principal Study.
The illustrated lecture is followed by questions from the assessment panel.
In preparation for this presentation, a 900-1100-word essay on a subject selected by the Module
Leader is submitted at the end of the Autumn Term.
20 credits
A personal research project, integral to the student’s Principal Study (or HPP study if appropriate),
applies the principles and techniques taught in the first two terms to a free choice of subject. The
research is delivered as a 40-45-minute illustrated lecture, followed by questions from the assessment
panel.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
10 credits
Playing with History Again John Butt The Dunedin Consort 2017
Artistic Practice as Research in Mine Doğantan-Dack Routledge 2015
Music: Theory, Criticism, Practice
Baroque Music Today: Music as Nikolaus Harnoncourt Amadeus Press 1982
Speech
The Pathetick Musician: Moving an Bruce Haynes and Oxford University Press 2016
Audience in the Age of Eloquence Geoffrey Burgess
Reviving Early Music: Metaphors Eric Lubarsky University of Rochester 2017
and Modalities of Life and Living in
Historically Informed Performance
The Art of Re-enchantment. Making Nick Wilson Oxford University Press 2014
Early Music in the Modern Age
Specific reading lists are given to the students at the beginning of each component.
The module is assessed with one practical examination weighted at 70% of the final mark. This
covers: improvised baroque prelude or embellished dance form; classical rondo and theme and
variations or short sonata-form movement; developing harmonic/structural reductions of a
chamber-music or solo work in real time, elaborating these reductions in more than one way and
extemporising on them; fermata points, eingänge, fantasias and cadenzas. The remaining 30% of the
mark comes from a progress report on the student’s work during the year.
11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A4, A7, B4, C1, C3, C4, C6, D3, D4, D5
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Report Tutor’s report KPE 30 50
Practical skills
Practical examination KPE 70 50
assessment
The class uses a variety of teaching and learning methods, including presentation of examples and
techniques by the tutor, group analysis of musical examples, and the realisation and analysis of the
students' own compositions and arrangements.
The first half of the module concentrates on techniques employed in small ensembles whilst the
second half concentrates on arranging for larger forces. Arrangements are rehearsed and recorded
both for the purposes of assessment and for formative feedback.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Portfolio Portfolio of arrangements KCW 100 50
In each presentation, students perform a 25-minute programme. The repertoire is to be derived from
coursework and agreed with the improvisation teacher and performed from memory.
There are two assessed projects: one spoken presentation to be delivered in class (15 mins + 5 mins
questions); one essay (3600-4400 words) written in response to a set question.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Oral assessment In class presentation (15
KPE 20 50
mins + 5 mins questions)
Written assignment Essay (3600-4400 words) KCW 80 50
Students may take both modules in one FT academic year, or Module A in PT year 1 and Module B in
PT year 2.
Assessment by tutors and the creative teams on particular performance projects is based on
class/rehearsal/performance work throughout the project.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Module A
Project output Performance project KPE 100 50
Module B
Project output Performance project KPE 100 50
The projects on offer will vary from year to year, but there will always be at least three to choose
from. Each will have its own schedule of classes, coaching and rehearsal, and each will culminate in
a performance, usually open to the public.
Assessment:
Each module will be assessed both through engagement with the project (40%), and
through the final performance (60%).
Pre-requisite: Students who wish to take this elective must submit a piece of academic written work
which they have completed as part of their previous studies (e.g. essay / dissertation), at the
beginning of the academic year. This should be at least 3000 words and in English. (The student’s
own translation of an essay previously written in another language is acceptable, provided it is
wholly the student’s own work).
Students may choose between three possible pathways, in consultation with their tutor:
1) Research through Artistic Practice: students will devise a research enquiry based on their
own artistic practice and key debates in related fields. Teaching will focus on research
methodologies for artistic research and students will have the option of demonstrating their
research enquiry through their practice.
Musicology: The Key Concepts David Beard & Kenneth Routledge 2005
Gloag
The Craft of Research Wayne C. Booth, Gregory G. University of Chicago 2003
Colomb & Joseph M. Press
Williams
The Cultural Study of Music: A Clayton, Martin, Trevor Routledge, 2003
Critical Introduction Herbert & Richard
Middleton (eds),
Music: A Very Short Introduction Nicholas Cook Oxford University Press 1998
Rethinking Music Nicholas Cook & Mark Oxford University Press 1999
Everist (eds.)
Artistic Practice as Research in Mine Dogantan-Dack (ed.) Ashgate 2015
Music: Theory, Criticism, Practice
Those taking a further 10 credits of song accompaniment, or those unable to join one of the Songs at
Six projects (for instance repetiteurs, due to their timetable in the Opera Dept.), will be asked to
prepare a 20 min programme of song repertoire with a singer or singers of their own choice for 10
credits (or two 20 min assessments for 20 credits). Coaching towards these performances will be
available from the Deputy Head of Keyboard Studies and also from an external song
specialist. Pianists will be encouraged to work with their singers beyond the precise limitations of
this module, taking part in the vocal performance platforms, in song classes, singers’ assessments
and, where appropriate, in master classes taken by internal or visiting professors.
For the latter assessment, the duo should offer repertoire originally written for voice and piano, as
distinct from orchestral transcriptions or works intended for harpsichord. Two printed programmes
and a copy of the music must be provided for the assessment panel.
Students may take both modules in one FT year, or module A in PT year 1 and module B in PT year
2.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Module A
Students who choose to take one module (Module A) for 10 credits will participate in one project;
students who choose to take two modules (Modules A & B) for 20 credits participate in two projects,
which must be predominantly in different languages. PT students may take both modules in one PT
year, or module A in PT year 1, and module B in PT year 2.
Masters level performance assessment criteria are used for the purposes of assessment. Attendance at
all sessions allocated to a project is expected and the progress report/grade will reflect the quality and
consistency of the student’s contribution in the sessions.
In addition to working with the tutor towards the performance of allocated songs/arias, students are
expected to contribute to discussion and analysis, as well as to learn from presentations by the
tutor, reading assignments and listening to / critiquing workshop performances by peers.
Pianists are provided for this elective but singers are encouraged to work with their regular piano
partners where possible.
Student pianists normally participate in this elective and work with singers as assigned by the project
tutor. Where student pianists are not available, pianists will be organized/assigned by the School.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Module A
Practical skills assessment 20 mins performance KPE 60 50
Continuous assessment Progress report KCW 40 50
Module B
Practical skills assessment 20 mins performance KPE 60 50
Continuous assessment Progress report KCW 40 50
N.B. As numbers are limited for each project, auditions are likely to be required.
b) Assessment
KIS Assessment Type Detail KIS code % Weighting % Pass Mark
Wigmore Voiceworks
Practical skills assessment Performance/composition KPE 60 50
Participation and
Continuous assessment KCW 40 50
engagement
New Song Voiceworks
The module is assessed with one performance of 40-minute (total on-stage time, with a minimum of
25 minutes of music) of contrasting repertoire. Copies of the music and a printed programme must
be supplied on the day for the panel.
Performance (min. 25
Practical skills assessment KPE 100 50
minutes of music)
The module enables the student to develop a portfolio of skills in one or several of these roles:
creative leader, collaborator, composer, workshop leader, producer, practice-based researcher and
performer. Students develop progressively and focus their individual artistic practice through
experiential learning opportunities across a broad spectrum of creative practices and social and
cultural contexts. This includes cross-arts, inter-cultural and community contexts as well as
residencies, laboratories and taught sessions focusing on approaches to collaborative composition,
music-making, practice-based research and critical reflection.
As a self-reflective practitioner, students develop awareness of the nature of their own artistic
practice and its global/historical context, influences and working methods. This module aims to
develop in students the following:
• Have formed a synthesis between creative ideas, critical awareness and technical and personal
skills.
• Have considerable capacity in leading music-based activity in creative, participatory contexts
particular to their practice.
• Be clearly aware of the breadth of the professional and social contexts within which their
discipline is practiced, and have developed their own attitude to current issues.
• Be able to respond confidently and imaginatively to challenges associated with their area of
practice, capable of making realistic and informed choices and decisions in complex and
unpredictable situations.
• Be able to support their ongoing professional development through reflective and reflexive
practice, applying their critical capabilities constructively to both their own work and the work
of others.
• Have developed considerable capacity across a range of generative processes enabling them to
initiate and contribute to new developments in their chosen area of artistic practice.
• Be enabled to take direct responsibility for their own professional future, through having
confidence in their musical and analytical/reflective abilities, artistic curiosity, and personal
initiative and determination.
Informal formative opportunities include oral and written feedback from project leaders and key
staff, peer group assessment, ongoing discussion with mentor(s), interim reviews with the student’s
mentor and panel of key staff, monitoring of practical work through recording and peer group
evaluation of experiences.
11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A1, A2, A3, A4, A5, A6, B1, B2, B3, B4, B5, B6, C1, C2, C3, C6, C7, C8, C9
b) Assessment
% % Pass
KIS Assessment Type Detail KIS code
Weighting Mark
Year 1
Oral assessment Viva 30 mins KPE 30 50
Year 2
Practical skills assessment Performance event (30 mins)
or or KPE 35 50
Oral assessment Presentation (30 mins)
We recommend that all three events take place externally to the School, however, if appropriate, the
event that focuses on the student as a performer could be presented internally. All events should
display a connection to a variety of styles and genres of music and the student is expected to work
with an artist from another discipline in at least one of the events. The performance events should
draw on contributions from other Guildhall students (in Performance, Leadership or Composition)
as well as collaborators from outside the School.
Each of the three performances is assessed as a whole in terms of their success as a complete event.
Each performance is equally weighted. The student gives a final Viva presentation at the end of the
year and is expected to demonstrate an in depth understanding of his/her role and potential as a
portfolio practitioner within the artistic, cultural and educational sectors.
11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A1, A2, A3, A4, A5, A6, B1, B2, B3, B4, B5, B6, C1, C2, C3, C6, C7, C8, C9
b) Assessment
Assessment Type Detail KIS code % Weighting % Pass Mark
Practical skills assessment Performance Event 1 KPE 25 50
Practical skills assessment Performance Event 2 KPE 25 50
Practical skills assessment Performance Event 3 KPE 25 50
Oral assessment Viva Presentation KPE 25 50
11. Learning outcomes: On successful completion of the module students will have achieved
various skills and abilities. Please refer to the Programme Specification for descriptions of the skills
codes listed below:
A1, A2, A6, B1, B5, B6, C1, C2, C5, C7, C8, C9
A student with certified mitigating circumstances who misses either the first or last session, or
who fails marginally to meet the 85% attendance requirement, will be offered a viva to
demonstrate that they have met the learning outcomes of the project. The viva panel will be
established in accordance with School regulation Section 3, 8.3 and will comprise a minimum of
two examiners. The panel will explore the student’s understanding of the elements of the project
that they missed and the relationship of those elements to the project’s objectives.
An exceptionally compelling An exceptionally compelling An exceptionally compelling level of An exceptionally compelling An exceptionally compelling An exceptionally
level of control and mastery of level of command of stylistic quality of sound, a captivating sound level of communicating with level of ensemble compelling level of
80-89
instrument/voice detail and musical insight palette projecting subtle and individual the audience, with a strong communication and awareness and upholding
musical intentions integration of musical insight immediacy, producing a of professional standards
and technical command unified and original of presentation and
interpretation manners
An excellent level of control and An excellent level of An excellent level of quality of sound, An excellent level of An excellent level of ensemble An excellent level of
70-79 [dist.]
mastery of instrument/voice command of stylistic detail an attractive sound palette projecting communicating with the communication and awareness and upholding
and musical insight individual musical intentions audience, with a strong immediacy, resulting in an of professional standards
integration of musical insight integrated and engaging of presentation and
and technical command performance manners
A good level of security and A good level of convincing A good level of quality of sound A good level of engaging the A good level of collaborative A good level of awareness
[merit]
sophistication in the control of musical understanding and communicating a wide range of audience, clear and convincing ethos between members of the and upholding of
60-69
the instrument/voice style musical intentions communication ensemble, resulting in an professional standards of
engaging performance presentation and manners
A satisfactory level of control of A satisfactory level of A satisfactory level of quality of sound, A satisfactory level of engaging A satisfactory level of A satisfactory level of
the instrument/voice awareness of aspects of style with evidence of variety to project the audience ensemble communication, professional standards of
50-59
[pass]
and musical understanding musical intentions with evidence of awareness of presentation and manners
aspects of ensemble playing
A generally unreliable level of A generally unreliable level of A generally unreliable level of quality A generally unreliable level of A generally unreliable level of A generally unreliable
40-49
control of the instrument/voice awareness of stylistic detail of sound, with limited variety to engaging the audience interaction with ensemble level of professional
[fail]
that limits the projection of and of musical understanding project musical intentions members and of engagement standards of presentation
musical intentions with shared musical ideas and manners
An unsatisfactory level of control An unsatisfactory level of An unsatisfactory level of quality and An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
0-39
of the instrument/voice that stylistic awareness, limited variety of sound to project musical engaging the audience interaction with ensemble professional standards,
seriously impinges on the and inconsistent musical intentions members systematic failures in
projection of musical intentions understanding professionalism
Exceptionally compelling and sophisticated control of Exceptionally compelling and imaginative work An exceptionally compelling awareness and
80-89
structure, materials and forces. projecting a sophisticated aesthetic sensibility and upholding of professional presentation standards of
communicating both subtle and individual musical presentation and notation, communicating the
intentions with clarity. composer’s intentions with clarity and elegance.
Excellent and highly impressive control of structure, Excellent and highly imaginative work projecting a An excellent awareness and upholding of professional
70-79
materials and forces. consistent and coherent aesthetic sensibility and standards of presentation and notation,
(dist.)
communicating subtle musical intentions with communicating the composer’s intentions with
clarity. sophistication and fluency.
Good and generally convincing control of structure, Good and consistently imaginative work projecting A good awareness and upholding of professional
(merit)
60-69
materials and forces. generally coherent aesthetic aims and generally standards of presentation and notation,
communicating musical intentions with clarity. communicating the composer’s intentions with detail
and accuracy.
Satisfactory work with some control of structure, Satisfactory work shows some imagination and some A satisfactory awareness of professional standards of
50-59
(pass)
materials and forces. ability to project aesthetic aims, and communicates presentation and notation, but with some inaccuracies
musical intentions with some degree of clarity. and errors.
Recognisable but limited control of structure, Work shows limited but acceptable degrees of A generally unreliable level of awareness of
40-49
materials and forces. imaginative engagement and basic aesthetic professional standards of presentation and notation,
(fail)
awareness; some musical intentions are projected with consistent inaccuracies and errors.
with a limited degree of clarity.
Very inconsistent and inadequate control of structure, Inadequate imaginative engagement and little or no An unsatisfactory level of awareness of professional
materials and forces. aesthetic awareness. Musical intentions are not standards of presentation and notation, with
0-39
results and critically appraised and communicated in a most compelling and fluent way.
An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling
level of resourcefulness, level of acquisition and level of synthesis of the level of rigour, insight and level of communication, stylish, level of presentation standards
.80-89
relevance and depth of internalisation of experiences dynamics of artistic and persuasiveness in the pursuit of fluent and personal ready for publication
questioning, showing personal development, showing self-awareness
exceptional and methodical use strong imagination and
of appropriate reflective tools individuality
An excellent level of An excellent level of acquisition An excellent level of synthesis An excellent level of rigour, An excellent level of An excellent level of
resourcefulness, relevance and and internalisation of of the dynamics of artistic and emerging insight, and communication; stylish and presentation standards which
70-79
[dist.]
depth of questioning, showing experiences personal development, showing persuasiveness in the pursuit of fluent enhances the reader’s
good and methodical use of imagination and individuality self-awareness appreciation of the material
appropriate reflective tools
A good level of resourcefulness A good level of acquisition and A good level of synthesis of A good level of clarity and A good level of A good level of presentation
[merit]
60-69
and relevance of questioning, processing of experiences issues of artistic and personal persuasiveness in the pursuit of communication; fluent and standards, laying out material
showing generally consistent development, showing some self-awareness clear, with a broadly correct use with clarity
use of reflective tools individuality of language
A satisfactory level of relevance A satisfactory level of A satisfactory level of interest in A satisfactory level of clarity A satisfactory level of A satisfactory level of
50-59
[pass]
of questioning, showing some acquisition and processing of considering issues of artistic and and conviction in the pursuit of communication, fluent and presentation standards, showing
evidence of non-casual use of experiences personal development, with an self-awareness mostly clear, with an an awareness of the School’s
reflective tools attempt at individuality understandable use of language Style Guide
A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of
40-49 [fail]
questioning, with some but acquisition of self-awareness, engagement with issues of clarity or conviction in the communication; a limited and presentation standards, showing
inconsistent use of reflective with some but un-processed artistic and personal pursuit of self-awareness, mostly confused use of language limited awareness and
tools elements of value development, with some showing a limited attempt at implementation of the School’s
limited elements of interest reflection Style Guide
An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
questioning, showing very little acquisition of self-awareness, engagement with issues of clarity or conviction in the communication; very confused presentation standards showing
0-39
awareness of reflective tools with very few elements of value artistic and personal pursuit of self-awareness, and poor use of language very limited skills
development with very few showing a very limited attempt
elements of interest at reflection
10
-
with original thinking, and is communicated with an effectiveness comparable to standards for publication or presentation to an expert audience
An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling
level of resourcefulness, level of acquisition and level of synthesis of complex level of rigour, insight and level of communication; stylish, level of presentation standards,
80-89
relevance and depth, showing internalisation of knowledge information, concepts and persuasiveness in the handling fluent, and personal ready for dissemination to a
exceptional knowledge of the material, showing strong of concepts and material specialist audience
wider contemporary academic imagination and individuality
field
An excellent level of An excellent level of acquisition An excellent level of synthesis An excellent level of rigour, An excellent level of An excellent level of
resourcefulness, relevance and and internalisation of of complex information, emerging insight, and communication; stylish and presentation standards, which
70-79
[dist.]
depth, showing excellent knowledge concepts and materials, showing persuasiveness in the handling fluent enhances the reader’s
knowledge of the wider imagination and individuality of concepts and material appreciation of the material
contemporary academic field
A good level of resourcefulness, A good level of acquisition and A good level of synthesis of A good level of clarity and A good level of A good level of presentation
relevance and range, processing of knowledge information and materials, persuasiveness in the processing communication; fluent and standards, laying out material
[merit]
60-69
acknowledging the wider showing some individuality of ideas and information, with clear with a broadly correct use with clarity
contemporary academic field some evidence of critical of language
appraisal of sources
A satisfactory level of relevance A satisfactory level of A satisfactory level of A satisfactory level of clarity A satisfactory level of A satisfactory level of
and range, although not acquisition and processing of information, mostly derivative, and conviction in the processing communication; fluent and presentation standards, at a
50-59
[pass]
demonstrating engagement knowledge, although not but with an attempt at of information, with limited mostly clear with an minimum adhering to the
beyond class material demonstrating understanding individuality evidence of critical appraisal of understandable use of language School’s Style Guide for
beyond class material sources referencing
A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of
40-49 [fail]
engagement with source acquisition, with information, with some limited clarity or conviction in the communication; a limited and presentation standards showing
material with some limited misunderstandings of class elements of relevance consideration of information, mostly confused use of language limited awareness and
material of research value material showing little critical appraisal implementation of the School’s
of sources Style Guide
An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
engagement with source acquisition, with serious information with very limited clarity or conviction in the communication; very confused presentation standards
0-39
material of very limited misunderstandings and flaws elements of relevance consideration of information, and poor use of language
research value showing very little critical
appraisal of sources
An outcome displaying a unique creative output, showing integration at the highest level of skills, internalisation of context and parameters, and originality and insight. An outcome that also shows a mode and
100
90-
power of communication completely integral to the values and significance of the output.
An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling An exceptionally compelling
level of acquisition of creative level of acquisition and level of integration of specific level of originality and risk- level of persuasion in the level of presentation standards
.80-89
skills and of resourcefulness of internalisation of relevant artistic context and individual taking, accomplished with projection of artistic content in line with artistic and
creative means artistic models and contexts imagination rigour and insight and values professional contexts
An excellent level of acquisition An excellent level of acquisition An excellent level of integration An excellent level originality An excellent level of persuasion An excellent level of
70-79
of creative skills and of and internalisation of relevant of specific artistic context and and risk-taking, accomplished in the projection of artistic presentation standards in line
[dist.]
resourcefulness of creative artistic models and contexts individual imagination with rigour and insight content and values with artistic and professional
means contexts
A good level of creative skills A good level of acquisition and A good level of interplay of A good level of personal ideas A good level of communicative A good level of presentation
[merit]
60-69
and means processing of general artistic general artistic issues and pursued with clarity and tools for expressing artistic ideas standards, effective for general
models individual ideas interest public display
A satisfactory level of creative A satisfactory level of A satisfactory level of interplay A satisfactory level of personal A satisfactory level of A satisfactory level of
skills and means acquisition and processing of of general artistic issues and ideas pursued with clarity and communicative tools for presentation standards, broadly
50-59
[pass]
general artistic models some individual ideas interest expressing artistic ideas effective for general public
display
A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of A generally unreliable level of
creative skills, with some but acquisition of artistic models, engagement with artistic issues, personal ideas, showing limited communication; a limited and presentation standards, showing
40-49
[fail]
inconsistent use of relevant with some but un-processed with some limited elements of attention to details mostly confused projection of limited scope for public display
tools elements of value interest ideas
An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of An unsatisfactory level of
creative skills, showing very acquisition of artistic models engagement with artistic issues personal ideas, showing very communication; very confused presentation standards showing
0-39
little use of relevant tools with very few elements of value and very few elements of limited attention to details and poor projection of ideas very limited scope for public
interest display
to respond to and command of musical resources to project musical knowledge of the nature of musical and
participants and artistic/educational structure and material intentions artistic quality and contemporary directions of
audiences overview the portfolio practitioner